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مبادئ الإضاءة ..
الإضاءة الداخلية ..
إضاءة الموضوع
LIGHTING THE SUBJECT
The guides to effective lighting outdoors which were covered in the earlier part of this Assignment apply equally to indoor lighting . Light is light - it illuminates the subject in accordance with its form and contour . It throws shadows and produces highlights . Whether the light comes from the sun or from a man - made tungsten lamp , the result is substantially the same . It is perfectly true that outdoor illumination differs in character to some degree from indoor illumination , but the broad principles we have laid down here apply to both . For that reason , we will not repeat them . We will , however , discuss a logical procedure for lighting a set and , in so doing , we will discuss some of the characteristics of various types of lights and how they may be controlled .
The successful photographer knows exactly what he wants to show with his picture and he proceeds in a logical manner in setting up his lights to achieve the desired results . His work is by no means haphazard even though at a casual glance it may appear that he is experimenting by moving lights about , looking for different camera angles , and so on . Actually , he does all of these things not because he is proceeding by guess and by inspiration , but as final touches in building up a planned arrangement . That being so , he must necessarily go about his job in a logical sequence . We strongly recommend that you follow the procedure we will outline here .
There are four basic steps to this procedure . They are :
1. Establish the main light
2. Establish the fill - in light
3. Set up the accent light or lights
4. Set up the background lights
ESTABLISHING THE MAIN LIGHT . To establish the main light you must , first all , know where you intend to place the camera . You may , after the lighting established , shift the camera angle slightly , but this is largely a question of putting the finishing touch to a carefully planned picture . You cannot light a subject unless you know where the camera will be positioned .
The direction from which the light comes , as well as the exact length and placement of the shadows , is determined as much by the location of the camera as by the location of the light itself , and since direction of light and the appearance of the shadows are key elements in the composition , it follows that the composition must be planned from a single reference point , the camera . Therefore , the first thing to do is to look at the set carefully . Determine the main compositional lines . Move about and look at it from all angles with an eye to composition and lighting effects . When you have determined the best point of view , set the camera at that point . From now on everything revolves around the camera ,
Now turn on the main light and place it where you want it . The main light . should cover the entire set or subject with fairly uniform overall illumination . It should cast the shadows exactly where you want them to produce the effect you want . If the set is small , the main light can be small - on the other hand , if you have a large set such as a kitchen interior , the light must be large enough and powerful enough to cover it adequately .
The main light almost invariably is a broad floodlight of the type illustrated . in Figure 27. It should be placed somewhat to the side and considerably above eye level , since that is the way we see things under normal illumination . This is true whether we are thinking of outdoor illumination , where the sun is the sole illuminant , or indoors , where an overhead ceiling light is the usual source of illumination . Low main lighting does not look natural , and it is to be avoided unless you are striving for an unusual dramatic or bizarre effect .
The main light will cast strong shadows , and if the light source is not too close to the subject , those shadows will be quite dark and sharply defined . You must determine , at this point , what kind of shadows best fit the subject . Neglect for the moment the fact that the shadows , at this stage , are extremely dark and will almost certainly photograph with no detail . This situation will be rectified later . Right now , concern yourself only with the direction , size and sharpness of outline of these shadows . If their direction and size don't suit , move the main light about until they do . However , under no circumstances should you use two main lights . The double shadows produced that way will attract attention and weaken the unity of the finished composition . They may also pick out different areas so that you will have two centers of interest instead of one .
Let us say you have chosen the position of the main light so as to give you the desired size , direction and location of shadows . Now look at them carefully and consider the sharpness of their outline . Does the subject call for a sharply defined shadow ? If so , that ends it . On the other hand , do you want a slightly diffused shadow , or do you want a highly diffused shadow ?
If diffusion is called for , place a diffusion screen in front of the main light and see how it softens the shadows . The size of the main light , as well as the size and location of the diffusion screen , will determine the degree of diffusion of the shadow edges . The larger the main reflector and the larger the diffusion screen , the greater the diffusion . When you have reached the decision and established the main light to give you the desired effect ( still neglecting the depth or darkness of the shadows ) , you are ready for the next step - establishing the fill - in light .
ESTABLISHING THE FILL - IN LIGHT . The fill - in light has only one purpose - to fill in the shadows so that the overall contrast of the picture is correct . For that reason , the fill - in light must always be weaker than the main light . If it is stronger , it takes over the function of the main light and you have completely changed the composition . If the fill - in light is equal in intensity to the main light , you will have two light sources with all the attendant errors in lighting and composition . The light used for fill in purposes can be one of your regular lights , such as you use for main lighting purposes , but it is generally easier to use a somewhat smaller floodlight with a lower wattage bulb . However , if you have only the one size , position the fill - in light farther away so as to reduce its intensity on the subject .
Since the main function of the fill - in light is to fill in the shadows seen by the camera , the light itself must necessarily be placed quite close to the camera or else it will not have exactly the same coverage as the camera itself . Its usual position is as close to the camera as possible without interfering with the operation of the camera , and on the side away from the main light .
For example , if the main light is to the left of the camera , the fill - in light should be very slightly to the right . If the fill - in light is too strong , you can position it in back and slightly to the right side of the camera . Conversely , if it uses a low wattage lamp . you may have to bring it forward , but in that case watch it carefully to make sure it does not get into the picture .
The strength of the fill - in light is quite important . The inexperienced eye is a very poor judge of shadow density and you will find the normal tendency at first will be to let the shadows go too dark .
There is no specific " best " density for the shadows since their density is determined almost entirely by the effect you want to create . For bold dramatic lighting , the shadows can be quite deep with but little detail . In that case they may have only one - sixth or even one - eighth the brightness of the highlight areas . On the other hand , when making portraits of young children or of girls in which you want to emphasize delicate modeling , the shadows may be illuminated so as to have as much as 50 % of the illumination of the highlights . When shooting with reversal color film , the ratio between the highlight and shadow illumination must be kept small because of the very limited exposure latitude of positive color films . So with such color films , the lighting ratio should be held somewhere between 2 to 1 and 3 to 1. With black - and - white or negative color film , a good average highlight to shadow ratio is 3 to 1 or 4 to 1 .
We strongly recommend that you actually measure the lighting ratio until , with a good deal of experience , you have developed the ability to judge such matters with the unaided eye . Measuring the lighting ratio is quite simple , and we suggest the following procedure :
Set up the main light and fill - in light . Be sure these are the only lights in use . Place a neutral gray card in the subject area so that it receives exactly the same lighting as the subject . If you don't have a neutral gray card , use any convenient card without worrying about its exact shade of gray . At this point you are not actually measuring exposure - you are comparing lighting values . Now take a reading of this gray card . Angle the meter as necessary to get the highest possible
reading , taking care , however , that you do not throw a shadow on the card where it will affect the meter reading . Turn off the main light , but leave the fill - in light on . Take another reading of the fill in alone . The ratio between the reading for both lights and the reading for the fill - in light alone is the lighting ratio .
Estimate the lighting ratio before you actually take it . Then compare the actually measured ratio to your estimate to see how close you came . This will build up your ability to estimate lighting ratios , and when you reach the point where your estimates are generally pretty accurate , you can dispense with measuring them . However , for critical work , particularly with reversal color film , it is a good idea to measure lighting ratios every time .
SETTING UP THE ACCENT LIGHTS . You can do a great deal of picture taking using only a main light and a fill - in light . However , if you want to add a certain amount of life and sparkle to your pictures , you can do so by placing small accents of light here and there where they will accent the center of interest or give emphasis where emphasis is needed or separate two planes or two objects which tend to run together because they have substantially the same brightness . Since accent highlights of this kind must necessarily be quite small in nature or they tend to overpower the main light , they are almost invariably produced by spotlights .
If the spotlight is aimed from some point in front of the subject , its beam will have to be reduced in size very considerably to provide the small coverage that is required . However , it is often possible to get very dramatic effects by placing the spotlight to the side or in back of the subject so that the subject itself obstructs most of the beam which thus outlines only the tops or edges of the subject it strikes . In this respect , such highlighting or accent lighting is substantially the same as that obtained when 90 ° sidelighting or backlighting is used outdoors .
One very important advantage of the spotlight for such accent lighting is that it produces long shadows in front of the subject and these shadows , if carefully positioned , can be very effective in heightening the impact of the picture . Quite often when shooting still - life pictures of small items of merchandise , the foreground is empty and uninteresting . Placing a spotlight in back of the subject produces a strong shadow in the foreground and fills up this blank area .
If the shadow outline parallels or repeats the basic line of the commodity being photographed , this repetition serves to emphasize and strengthen that line , thus improving the composition . If the shadows simply move forward without repeating the outline of the subject , they still provide a strong element of movement , since the eye tends to follow the shadow into the picture , thus giving it greater depth and impact . This use of strong cast shadows is very common in commercial photography and is illustrated in Figure 33. Next time you look through some magazines , look at the advertisements and note how often a second foreground shadow is used to good effect .
Accent lighting is used very widely by portrait photographers in a rather special way . Brunette hair presents serious problem - it is quite dark and often . lifeless , yet it occupies a very important part of the picture area . It is a very simple matter to place a small spotlight in back of the subject , raise it to a good height and adjust its beam so that it barely skims the top of the head . Used in this way , the head is highlighted just enough to give it life and sparkle . Because this use of an accent light is so common in photography , small spotlights used for this purpose are often referred to as hair lights ( see Figure 34 ) .
Figure 33 A spotlight was used to produce long interesting shadows and enhance the texture of the background .
ESTABLISHING BACKGROUND ILLUMINATION . The final step in the illumination of a studio set is the establishing of the background illumination . Since all the lighting of the set itself is from the front , the background tends to be rather dark , particularly if it is at a distance . Light falls off as the square of the distance , so that if a background is , let us say , twice the distance from the light source as the main subject , it gets only one - fourth the light . This is often not enough .
Figure 34 Good use of an accent light to give sparkle to dark hair . Accent lights used for this purpose are known as hair lights .
The importance of the background is often overlooked , particularly by the student photographer . It isn't just something that happens to be there and can be neglected if it doesn't contain anything which clashes with the subject itself . An important function of the background is to separate the subject from the space around it - to move it forward and to give it prominence . This means that the subject must never merge into the background and it is the business of the photographer to prevent this from happening .
There are a number of ways by which this can be done , but since this Assignment deals primarily with lighting , we will consider how it can be done through the use of proper lighting . If the brightness of the subject is substantially the same as that of the background , they can be separated if one is made lighter than the other . We have discussed one method of accomplishing this result by the use of accent lighting from behind the subject , but we can also achieve this result by illuminating the background itself .
If the subject is small , one lamp will do the job nicely , but for a large set , it may be necessary to use more than one . If the subject illumination is high , a spotlight might be used to produce a rounded spotlight effect on the background , and this may often be successful in framing the subject in an effective manner thus imparting impact . Portrait heads , particularly of men , are often handled in this way .
In illuminating the background , great care must be exercised to make sure that the illumination level is different from anything outlined against it . For example , let us say you are photographing some item of merchandise which is a neutral gray . You can cause this gray to stand out from the background either by
illuminating the background so it is brighter , or you can keep the background quite dark throwing more light on the subject itself . Which of these two solutions . is best depends entirely on the specific subject , and this is where your judgment and taste are of paramount importance . Figures 35 and 36 illustrate these two methods .
This completes our Assignment on the broad principles of lighting and some of its more widely used applications . This by no means indicates that we have given you all the information you need to have . The subject is so basic to photography that it is impossible to give it too much coverage . Special applications of the principles of lighting outlined in this Assignment will be discussed throughout the remainder of this course of study under the broad areas of photography discussed in each Assignment .
For example , in the Assignment on portraiture , we will go into some detail about the special lighting arrangements and lighting techniques which are of prime importance to the portrait man . In flash photography , we will discuss lighting from a completely different point of view , even though the basic principles remain the same . In available light photography and in night photography ,
Figure 35 An example of lighting the background to separate it from the object being photographed .
Figure 36 Here the separation between object and background was achieved by lighting the object , letting the background remain dark ..
lighting problems are quite different in their nature , and they will be discussed . from the specific points of view involved .
Before we leave the subject of lighting for the present , we want to emphasize one very important point . Lighting is the key to photography . The degree to which you understand and can control lighting is the degree to which you can be considered a topnotch photographer .
Never take your lighting for granted . It is a very rare situation where you cannot exercise some control over your lighting , and by so doing achieve a better picture . Even when you cannot control lighting as such , you can take advantage . of it in your composition or in the mood you convey with your picture . Capturing just the right mood , whether it be that of a hazy fog - drenched city scene or a strong figure silhouetted against a dramatic sunset sky , is largely a matter of seeing in terms of light and shade and transferring what you see to paper .
مبادئ الإضاءة ..
الإضاءة الداخلية ..
إضاءة الموضوع
LIGHTING THE SUBJECT
The guides to effective lighting outdoors which were covered in the earlier part of this Assignment apply equally to indoor lighting . Light is light - it illuminates the subject in accordance with its form and contour . It throws shadows and produces highlights . Whether the light comes from the sun or from a man - made tungsten lamp , the result is substantially the same . It is perfectly true that outdoor illumination differs in character to some degree from indoor illumination , but the broad principles we have laid down here apply to both . For that reason , we will not repeat them . We will , however , discuss a logical procedure for lighting a set and , in so doing , we will discuss some of the characteristics of various types of lights and how they may be controlled .
The successful photographer knows exactly what he wants to show with his picture and he proceeds in a logical manner in setting up his lights to achieve the desired results . His work is by no means haphazard even though at a casual glance it may appear that he is experimenting by moving lights about , looking for different camera angles , and so on . Actually , he does all of these things not because he is proceeding by guess and by inspiration , but as final touches in building up a planned arrangement . That being so , he must necessarily go about his job in a logical sequence . We strongly recommend that you follow the procedure we will outline here .
There are four basic steps to this procedure . They are :
1. Establish the main light
2. Establish the fill - in light
3. Set up the accent light or lights
4. Set up the background lights
ESTABLISHING THE MAIN LIGHT . To establish the main light you must , first all , know where you intend to place the camera . You may , after the lighting established , shift the camera angle slightly , but this is largely a question of putting the finishing touch to a carefully planned picture . You cannot light a subject unless you know where the camera will be positioned .
The direction from which the light comes , as well as the exact length and placement of the shadows , is determined as much by the location of the camera as by the location of the light itself , and since direction of light and the appearance of the shadows are key elements in the composition , it follows that the composition must be planned from a single reference point , the camera . Therefore , the first thing to do is to look at the set carefully . Determine the main compositional lines . Move about and look at it from all angles with an eye to composition and lighting effects . When you have determined the best point of view , set the camera at that point . From now on everything revolves around the camera ,
Now turn on the main light and place it where you want it . The main light . should cover the entire set or subject with fairly uniform overall illumination . It should cast the shadows exactly where you want them to produce the effect you want . If the set is small , the main light can be small - on the other hand , if you have a large set such as a kitchen interior , the light must be large enough and powerful enough to cover it adequately .
The main light almost invariably is a broad floodlight of the type illustrated . in Figure 27. It should be placed somewhat to the side and considerably above eye level , since that is the way we see things under normal illumination . This is true whether we are thinking of outdoor illumination , where the sun is the sole illuminant , or indoors , where an overhead ceiling light is the usual source of illumination . Low main lighting does not look natural , and it is to be avoided unless you are striving for an unusual dramatic or bizarre effect .
The main light will cast strong shadows , and if the light source is not too close to the subject , those shadows will be quite dark and sharply defined . You must determine , at this point , what kind of shadows best fit the subject . Neglect for the moment the fact that the shadows , at this stage , are extremely dark and will almost certainly photograph with no detail . This situation will be rectified later . Right now , concern yourself only with the direction , size and sharpness of outline of these shadows . If their direction and size don't suit , move the main light about until they do . However , under no circumstances should you use two main lights . The double shadows produced that way will attract attention and weaken the unity of the finished composition . They may also pick out different areas so that you will have two centers of interest instead of one .
Let us say you have chosen the position of the main light so as to give you the desired size , direction and location of shadows . Now look at them carefully and consider the sharpness of their outline . Does the subject call for a sharply defined shadow ? If so , that ends it . On the other hand , do you want a slightly diffused shadow , or do you want a highly diffused shadow ?
If diffusion is called for , place a diffusion screen in front of the main light and see how it softens the shadows . The size of the main light , as well as the size and location of the diffusion screen , will determine the degree of diffusion of the shadow edges . The larger the main reflector and the larger the diffusion screen , the greater the diffusion . When you have reached the decision and established the main light to give you the desired effect ( still neglecting the depth or darkness of the shadows ) , you are ready for the next step - establishing the fill - in light .
ESTABLISHING THE FILL - IN LIGHT . The fill - in light has only one purpose - to fill in the shadows so that the overall contrast of the picture is correct . For that reason , the fill - in light must always be weaker than the main light . If it is stronger , it takes over the function of the main light and you have completely changed the composition . If the fill - in light is equal in intensity to the main light , you will have two light sources with all the attendant errors in lighting and composition . The light used for fill in purposes can be one of your regular lights , such as you use for main lighting purposes , but it is generally easier to use a somewhat smaller floodlight with a lower wattage bulb . However , if you have only the one size , position the fill - in light farther away so as to reduce its intensity on the subject .
Since the main function of the fill - in light is to fill in the shadows seen by the camera , the light itself must necessarily be placed quite close to the camera or else it will not have exactly the same coverage as the camera itself . Its usual position is as close to the camera as possible without interfering with the operation of the camera , and on the side away from the main light .
For example , if the main light is to the left of the camera , the fill - in light should be very slightly to the right . If the fill - in light is too strong , you can position it in back and slightly to the right side of the camera . Conversely , if it uses a low wattage lamp . you may have to bring it forward , but in that case watch it carefully to make sure it does not get into the picture .
The strength of the fill - in light is quite important . The inexperienced eye is a very poor judge of shadow density and you will find the normal tendency at first will be to let the shadows go too dark .
There is no specific " best " density for the shadows since their density is determined almost entirely by the effect you want to create . For bold dramatic lighting , the shadows can be quite deep with but little detail . In that case they may have only one - sixth or even one - eighth the brightness of the highlight areas . On the other hand , when making portraits of young children or of girls in which you want to emphasize delicate modeling , the shadows may be illuminated so as to have as much as 50 % of the illumination of the highlights . When shooting with reversal color film , the ratio between the highlight and shadow illumination must be kept small because of the very limited exposure latitude of positive color films . So with such color films , the lighting ratio should be held somewhere between 2 to 1 and 3 to 1. With black - and - white or negative color film , a good average highlight to shadow ratio is 3 to 1 or 4 to 1 .
We strongly recommend that you actually measure the lighting ratio until , with a good deal of experience , you have developed the ability to judge such matters with the unaided eye . Measuring the lighting ratio is quite simple , and we suggest the following procedure :
Set up the main light and fill - in light . Be sure these are the only lights in use . Place a neutral gray card in the subject area so that it receives exactly the same lighting as the subject . If you don't have a neutral gray card , use any convenient card without worrying about its exact shade of gray . At this point you are not actually measuring exposure - you are comparing lighting values . Now take a reading of this gray card . Angle the meter as necessary to get the highest possible
reading , taking care , however , that you do not throw a shadow on the card where it will affect the meter reading . Turn off the main light , but leave the fill - in light on . Take another reading of the fill in alone . The ratio between the reading for both lights and the reading for the fill - in light alone is the lighting ratio .
Estimate the lighting ratio before you actually take it . Then compare the actually measured ratio to your estimate to see how close you came . This will build up your ability to estimate lighting ratios , and when you reach the point where your estimates are generally pretty accurate , you can dispense with measuring them . However , for critical work , particularly with reversal color film , it is a good idea to measure lighting ratios every time .
SETTING UP THE ACCENT LIGHTS . You can do a great deal of picture taking using only a main light and a fill - in light . However , if you want to add a certain amount of life and sparkle to your pictures , you can do so by placing small accents of light here and there where they will accent the center of interest or give emphasis where emphasis is needed or separate two planes or two objects which tend to run together because they have substantially the same brightness . Since accent highlights of this kind must necessarily be quite small in nature or they tend to overpower the main light , they are almost invariably produced by spotlights .
If the spotlight is aimed from some point in front of the subject , its beam will have to be reduced in size very considerably to provide the small coverage that is required . However , it is often possible to get very dramatic effects by placing the spotlight to the side or in back of the subject so that the subject itself obstructs most of the beam which thus outlines only the tops or edges of the subject it strikes . In this respect , such highlighting or accent lighting is substantially the same as that obtained when 90 ° sidelighting or backlighting is used outdoors .
One very important advantage of the spotlight for such accent lighting is that it produces long shadows in front of the subject and these shadows , if carefully positioned , can be very effective in heightening the impact of the picture . Quite often when shooting still - life pictures of small items of merchandise , the foreground is empty and uninteresting . Placing a spotlight in back of the subject produces a strong shadow in the foreground and fills up this blank area .
If the shadow outline parallels or repeats the basic line of the commodity being photographed , this repetition serves to emphasize and strengthen that line , thus improving the composition . If the shadows simply move forward without repeating the outline of the subject , they still provide a strong element of movement , since the eye tends to follow the shadow into the picture , thus giving it greater depth and impact . This use of strong cast shadows is very common in commercial photography and is illustrated in Figure 33. Next time you look through some magazines , look at the advertisements and note how often a second foreground shadow is used to good effect .
Accent lighting is used very widely by portrait photographers in a rather special way . Brunette hair presents serious problem - it is quite dark and often . lifeless , yet it occupies a very important part of the picture area . It is a very simple matter to place a small spotlight in back of the subject , raise it to a good height and adjust its beam so that it barely skims the top of the head . Used in this way , the head is highlighted just enough to give it life and sparkle . Because this use of an accent light is so common in photography , small spotlights used for this purpose are often referred to as hair lights ( see Figure 34 ) .
Figure 33 A spotlight was used to produce long interesting shadows and enhance the texture of the background .
ESTABLISHING BACKGROUND ILLUMINATION . The final step in the illumination of a studio set is the establishing of the background illumination . Since all the lighting of the set itself is from the front , the background tends to be rather dark , particularly if it is at a distance . Light falls off as the square of the distance , so that if a background is , let us say , twice the distance from the light source as the main subject , it gets only one - fourth the light . This is often not enough .
Figure 34 Good use of an accent light to give sparkle to dark hair . Accent lights used for this purpose are known as hair lights .
The importance of the background is often overlooked , particularly by the student photographer . It isn't just something that happens to be there and can be neglected if it doesn't contain anything which clashes with the subject itself . An important function of the background is to separate the subject from the space around it - to move it forward and to give it prominence . This means that the subject must never merge into the background and it is the business of the photographer to prevent this from happening .
There are a number of ways by which this can be done , but since this Assignment deals primarily with lighting , we will consider how it can be done through the use of proper lighting . If the brightness of the subject is substantially the same as that of the background , they can be separated if one is made lighter than the other . We have discussed one method of accomplishing this result by the use of accent lighting from behind the subject , but we can also achieve this result by illuminating the background itself .
If the subject is small , one lamp will do the job nicely , but for a large set , it may be necessary to use more than one . If the subject illumination is high , a spotlight might be used to produce a rounded spotlight effect on the background , and this may often be successful in framing the subject in an effective manner thus imparting impact . Portrait heads , particularly of men , are often handled in this way .
In illuminating the background , great care must be exercised to make sure that the illumination level is different from anything outlined against it . For example , let us say you are photographing some item of merchandise which is a neutral gray . You can cause this gray to stand out from the background either by
illuminating the background so it is brighter , or you can keep the background quite dark throwing more light on the subject itself . Which of these two solutions . is best depends entirely on the specific subject , and this is where your judgment and taste are of paramount importance . Figures 35 and 36 illustrate these two methods .
This completes our Assignment on the broad principles of lighting and some of its more widely used applications . This by no means indicates that we have given you all the information you need to have . The subject is so basic to photography that it is impossible to give it too much coverage . Special applications of the principles of lighting outlined in this Assignment will be discussed throughout the remainder of this course of study under the broad areas of photography discussed in each Assignment .
For example , in the Assignment on portraiture , we will go into some detail about the special lighting arrangements and lighting techniques which are of prime importance to the portrait man . In flash photography , we will discuss lighting from a completely different point of view , even though the basic principles remain the same . In available light photography and in night photography ,
Figure 35 An example of lighting the background to separate it from the object being photographed .
Figure 36 Here the separation between object and background was achieved by lighting the object , letting the background remain dark ..
lighting problems are quite different in their nature , and they will be discussed . from the specific points of view involved .
Before we leave the subject of lighting for the present , we want to emphasize one very important point . Lighting is the key to photography . The degree to which you understand and can control lighting is the degree to which you can be considered a topnotch photographer .
Never take your lighting for granted . It is a very rare situation where you cannot exercise some control over your lighting , and by so doing achieve a better picture . Even when you cannot control lighting as such , you can take advantage . of it in your composition or in the mood you convey with your picture . Capturing just the right mood , whether it be that of a hazy fog - drenched city scene or a strong figure silhouetted against a dramatic sunset sky , is largely a matter of seeing in terms of light and shade and transferring what you see to paper .
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